There are two sides to every story: yours and mine, ours and theirs, His & Hers. Which means someone is always lying. When a woman is murdered in Blackdown, a quintessentially British village, newsreader Anna Andrews is reluctant to cover the case. Detective Jack Harper is suspicious of her involvement, until he becomes a suspect in his own murder investigation. Someone isn’t telling the truth, and some secrets are worth killing to keep. His & Hers is a twisty, smart, psychological thriller. A gripping tale of suspense, told by expertly-drawn narrators that will keep readers guessing until the very end.

Call Me By Your Name meets Elena Ferrante in this debut coming-of-age novel about a young girl who spends summers working at her family’s timeworn Italian agriturismo, the tragedy that rends her life into “before” and “after,” and her romance with an American girl, which has unexpected consequencesTo ten-year-old Leo, life is a collection. She spends her mornings tidying the rooms of her Nonna Tina’s timeworn Italian agriturismo, carefully accumulating the curious bits of left-behind detritus from guests—a pearl earring, a lock of hair. Her nights are suffused with gathering the stories that flow from her father’s lips—liquor-spun tales of Odysseus and the Trojans in secret battle. But when an accident rips the gentle membrane of Leo’s childhood, she is left vulnerable to the pains and pleasures of growing up. Years later, in a sultry summer not unlike the many that came before, the agriturismo is the only thing that remains the same. Nonna Tina has grown older, Leo’s brother Max is intractable and mercurial, and the curiosity Leo so loved to feed as a child has turned into something more confusing. When she meets Dolores, an American girl made brilliant by Leo’s perception of her, she can’t help but gather all the experiences first love promises, while shedding parts of the past she no longer fits into. Embroidering the atmospheric yearning of Call Me By Your Name with the precise, elevated prose of Elena Ferrante, Sofia Montrone’s jaw-dropping debut revels in the exuberant highs and awkward lows of girlhood and captures the universal experiences of trying to hold on to what is elusive, to deny what cannot be faced, and to say what cannot be said.

Ukraine, 2022. Yeva is a loner and a maverick biologist who lives out of her mobile lab. She scours the country’s forests and valleys, trying and failing to breed rare snails while her relatives urge her to give up, settle down, and start a family. What they don’t know: Yeva already dates plenty of men—not for love, but to fund her work—entertaining Westerners who come to Ukraine on guided romance tours believing they’ll find docile brides uninfluenced by feminism and modernity. Nastia and her sister Solomiya are also entangled in the booming marriage industry, posing as a hopeful bride and her translator while secretly searching for their missing mother—a flamboyant protestor who vanished after years of fierce activism against the romance tours. So begins a journey of a lifetime across hundreds of miles: three angry women, a truckful of kidnapped bachelors, and Lefty, a last-of-his-kind snail with one final shot at perpetuating his species. But their plans come to a screeching halt as Russia invades.

When her cousin and wife fail to return from a walk, this story takes a sinister turn to a quest of survival A woman takes a holiday in the Austrian mountains, spending a few days with her cousin and his wife in their hunting lodge. When the couple fails to return from a walk, the woman sets off to look for them. But her journey reaches a sinister and inexplicable dead end. She discovers only a transparent wall behind which there seems to be no life. Trapped alone behind the mysterious wall she begins the arduous work of survival. This is at once a simple account of potatoes and beans, of hoping for a calf, of counting matches, of forgetting the taste of sugar and the use of one's name, and simultaneously a disturbing dissection of the place of human beings in the natural world. **PERFECT FOR FANS OF THE YELLOW WALLPAPER, STATION ELEVEN AND THE MARTIAN VINTAGE EARTH is a collection of novels to transform our relationship with the natural world. Each one is a work of creative activism, a blast of fresh air, a seed from which change can grow. The books in this series reconnect us to the planet we inhabit - and must protect. Discover great writing on the most urgent story of our times.

A traditional American woman, a beautiful wife and mother who sells her pioneer lifestyle of raw milk and farm-fresh eggs to her millions of social media followers, suddenly awakens cold, filthy, and terrified in the brutal reality of 1805—where she must unravel whether this living nightmare is an elaborate hoax, a twisted reality show, or something far more sinister in this sensational debut novel. My name was Natalie Heller Mills, and I was perfect at being alive. Natalie lives a traditional lifestyle. Her charming farmhouse is rustic, her husband a handsome cowboy, her six children each more delightful than the last. So what if there are nannies and producers behind the scenes, her kitchen hiding industrial-grade fridges and ovens, her husband the Republican equivalent of a Kennedy? What Natalie’s followers—all 8 million of them—don’t know won’t hurt them. And The Angry Women? The privileged, Ivy League, coastal elite haters who call her an antifeminist iconoclast? They’re sick with jealousy. Because Natalie isn’t simply living the good life, she’s living the ideal—and just so happens to be building an empire from it. Until one morning she wakes up in a life that isn’t hers. Her home, her husband, her children—they’re all familiar, but something’s off. Her kitchen is warmed by a sputtering fire rather than electricity, her children are dirty and strange, and her soft-handed husband is suddenly a competent farmer. Just yesterday Natalie was curating photos of homemade jam for her Instagram, and now she’s expected to haul firewood and handwash clothes until her fingers bleed. Has she become the unwitting star of a brutal reality show? Could it really be time travel? Is she being tested by God? By Satan? When Natalie suffers a brutal injury in the woods, she realizes two things: This is not her beautiful life, and she must escape by any means possible. A gripping, electrifying novel that is as darkly funny as it is frightening, Yesteryear is a gimlet-eyed look at tradition, fame, faith, and the grand performance of womanhood.

A traditional American woman, a beautiful wife and mother who sells her pioneer lifestyle of raw milk and farm-fresh eggs to her millions of social media followers, suddenly awakens cold, filthy, and terrified in the brutal reality of 1805—where she must unravel whether this living nightmare is an elaborate hoax, a twisted reality show, or something far more sinister in this sensational debut novel. My name was Natalie Heller Mills, and I was perfect at being alive. Natalie lives a traditional lifestyle. Her charming farmhouse is rustic, her husband a handsome cowboy, her six children each more delightful than the last. So what if there are nannies and producers behind the scenes, her kitchen hiding industrial-grade fridges and ovens, her husband the Republican equivalent of a Kennedy? What Natalie’s followers—all 8 million of them—don’t know won’t hurt them. And The Angry Women? The privileged, Ivy League, coastal elite haters who call her an antifeminist iconoclast? They’re sick with jealousy. Because Natalie isn’t simply living the good life, she’s living the ideal—and just so happens to be building an empire from it. Until one morning she wakes up in a life that isn’t hers. Her home, her husband, her children—they’re all familiar, but something’s off. Her kitchen is warmed by a sputtering fire rather than electricity, her children are dirty and strange, and her soft-handed husband is suddenly a competent farmer. Just yesterday Natalie was curating photos of homemade jam for her Instagram, and now she’s expected to haul firewood and handwash clothes until her fingers bleed. Has she become the unwitting star of a brutal reality show? Could it really be time travel? Is she being tested by God? By Satan? When Natalie suffers a brutal injury in the woods, she realizes two things: This is not her beautiful life, and she must escape by any means possible. A gripping, electrifying novel that is as darkly funny as it is frightening, Yesteryear is a gimlet-eyed look at tradition, fame, faith, and the grand performance of womanhood.

Welcome to the Kingdom... where 'Happily Ever After' isn't just a promise, but a rule. Glimmering like a jewel behind its gateway, The Kingdom is an immersive fantasy theme park where guests soar on virtual dragons, castles loom like giants, and bioengineered species--formerly extinct--roam free. Ana is one of seven Fantasists, beautiful "princesses" engineered to make dreams come true. When she meets park employee Owen, Ana begins to experience emotions beyond her programming including, for the first time... love. But the fairytale becomes a nightmare when Ana is accused of murdering Owen, igniting the trial of the century. Through courtroom testimony, interviews, and Ana's memories of Owen, emerges a tale of love, lies, and cruelty--and what it truly means to be human.

En el México postrevolucionario de los años treinta y cuarenta todo parece suceder como en un vértigo, y para Catalina, protagonista y narradora, escenas y emociones se consumen en el aire con la radiante velocidad de un fósforo. Ambición, matrimonio, adulterio, sacrificio y venganza; la historia amorosa de la temperamental y apasionada Catalina Ascencio...

“Las mujeres podemos ser muy horribles, plebe” Para sobrevivir en los rincones más injustos del patriarcado, las mujeres deben ser despiadadas, como asesinas a sueldo. La astucia, la fuerza colectiva, la violencia y las armas siempre están sobre la mesa en tiempos en los que todo vale. En el universo novelesco que trama este magistral libro de cuentos, las situaciones límite y el machismo encarnado en novios, narcos o ladrones de casas se convierten en el combustible de una galería de heroínas. Lejos de vislumbrar un reajuste de desigualdades, Perras de reserva, obra ganadora del Premio Nacional de Cuento Joven Comala 2019, de Dahlia de la Cerda, actúa como un manual narrativo para arrebatar el poder y ejercerlo. Dahlia de la Cerda (Aguascalientes, 1985) es narradora, activista y filósofa. En 2009 fue ganadora del certamen literario Letras de la Memoria, del Centro Cultural Los Arquitos. Ha sido becaria del Programa de Estímulo a la Creación y Desarrollo Artístico, en la emisión 2015, y del Programa Jóvenes Creadores Fonca, en las emisiones 2016 y 2018. Es codirectora en la organización feminista Morras Help Morras.